Thursday, January 28, 2010

First Design Binding - The Martian Chronicles

I decided I wanted to experiment with design binding. I went through my bookshelf looking for a good candidate and came across The Martian Chronicles by Ray Bradbury. I removed the original covers, endpapers and the mull one the spine. The book was perfect bound and the spine was slightly rounded. Because of this I did not want to cut and rebind the text block out of fear I would loose a substantial amount of the margins. Instead I left the spine intact, lined it with linen (PVA) and gently hammered it to accentuate the round. Next I attached new end sheets and hand sewn head and tail bands. For the case, I decided to do a quarter leather with paste paper and leather onlays. The running theme was Mars-esque colors - brown, red, orange, etc.
The piece I choose for the spine had a great triangular shape on one edge, which I cleaned up and decided to incorporate into my design. I started by paring the turn-ins of the leather, cutting my boards to size, and back cornering the boards slightly. Then I began to attach the spine. First I pasted out the leather and let it sit to absorb the moisture. Next I placed the text block (with boards in position) into a finishing press, leaving enough of the spine edge out to work with. I removed the excess paste from the leather, attached the spine stiffener, and positioned it on the book, ensuring the spine stiffener was in the proper location. Then I rubbed the leather down on the boards, removed the book carefully from the press and did the turn-ins. I left a little extra sticking up at each turn-in for the head and tail caps, which I constructed by gently dragging the case along the bench. I tried string around the spine (in the joint) and left the cover to dry.
To make the onlays, I pared 1" strips of leather very thin, then pasted them together on a piece of Mylar. When I was happy with the placement. I removed the mylar and lined the back with Japanese tissue and put the leather in a press. When it had dried, I cut circles out of visually interesting areas, and saved them for my cover design.
When the leather on the spine had dried, I infilled the boards with blotting paper (to absorb some of my onlays), then attached the paste paper, slightly overlapping the leather. After this was pressed and dried, I added my onlays and pressed the book again, putting circles cut from folder stock over the onlays to force them down into the blotter. Finally, I stamped the cover and cased in the book. These are pictures of the finished product (2010).

Sunday, January 17, 2010

Rebacking Experiment

Rebacking cloth bindings is a relatively common repair, with several variations in treatment technique. For this reason, I decided to experiment with two different methods by experts in the field. Using instructional manuals, I completed two cloth rebacks in the style of Don Etherington and Dominic Riley.
To begin I choose a set of two books from the stacks, which were identical in size, thickness, and required the same level of treatment.
The first step in each method was the same. I separated the text block from the case, cleaned and lined the spine with Japanese tissue (paste), and trimmed the boards (just a hair) at the joint edge. Next, I attached the head and tail bands to both books and lined the spine with linen (PVA), using aeroplane linen on the Etherington volume because it is what he advocates. With the linen lining providing extra stability, I repaired broken sewing in both volumes. At this point, both methods advise attaching a spine lining of "thickish" paper, the exact height of the text block. I used 10 pt board (PVA), dampening the strip for the Etherington volume as advised.
The next step in Riley's manual is to repair the corners, using wheat starch paste, and dry them under pressure from a bull dog clip (I used clothes pins). I typically use PVA for corner repairs, so I treated the Riley covers as directed and left the Etherington (to be treated with PVA) for comparison. Then I lifted the cloth and endpapers on both books. As advised in the manual, for the Etherington volume, I removed excess board fibers by lining the lifted area with masking tape, pressing down, and pulling it off. This does remove a good amount of unnecessary board.
With the text block and covers prepped, I began constructing the new spine pieces. This was really the biggest difference between the two. Riley suggests using toned cloth, sized with methyl cellulose. For this is used linen, and toned with an acrylic/cellulose mix. Then I attached a spine stiffener of 10 pt board. Etherington prefers to use Japanese tissue. He suggests using morike of a similar color, lined with linen, and coated with Klucel G. I had to tone the morike available slightly, so I used an acrylic/Klucel mix. For this spine stiffener, I used blotting paper, because Etherington claims it is easier to shape (which proved true). I parred the edges on both spine pieces to reduce bumps under the cover cloth.
When the spine pieces were ready, I cased in each volume. Both advocate attaching the new spine piece first. Riley's detailed instructions were very helpful for this part. He suggests positioning the boards and then moving the book to a press, sticking out enough to have room to freely move the lifted cloth (The ploy-press was very handy for this part). Next, I glued out the cloth (making sure no adhesive got on the spine stiffener) and positioned it on the text block, with the stiffener was in the correct position. With the spine piece in place, I removed the book from the press, and glued down the turn-ins. Then I attached the case by drawing the linen over the joint, with the cover raised by boards and weights keeping the book in position (as seen below in my Reattaching a Text Block entry).
Etherington suggests casing-in a similar way, except he attaches the Japanese tissue to one cover first. Next he attaches the spine stiffener in the necessary position and trims the second edge of the Japanese tissue spine piece to fit in position on the second cover. I opted to attached the spine stiffener first and trim the morike to size, so the spine piece could be parred.
The finishing steps for both volumes are gluing down the endpapers and cloth, reattaching remaining original spine pieces, and toning with acrylic. This is the completed set (vol. I - Etherington, vol. II - Riley):
My reason for this experiment was to learn variations of cloth reback repairs, and develop a personal preference. I really liked Riley's method, and have used it since. I was taught to attach the text block to the covers first, then add the spine piece. I feel working on the case first is faster, and I like the end result better. However, I do prefer to use morike lined with linen for the spine piece, because it is easier to work with and to tone.
I was also interested in the difference between the paste (Left) and PVA (Right) corners. The corners repaired with paste and held with clothes pins dried perfectly flat, while the PVA corners remained slightly curved. The only problem is the paste took a long time to dry. I think whether this additional time is worth while will depend on the book (2010).
Manuals used:
Repairing an Original Cloth Case Binding - Don Etherington
The Art and Science of Cloth Rebacking: Some Useful Techniques Shared - Dominic Riley

Wednesday, January 13, 2010

Reattaching a Text Block

The following is a simple way to reattach a text block, applicable when the case is in tact. With this particular book the text block was completely detached, but the case was in good shape and I did  not want to disturb it.
The first step was to gently lift the old spine lining with a spatula, and attach a new stiffener made of 10 pt board (PVA). Once that dried, I lined the entire spine with Japanese tissue (paste) overlapping slightly on to the boards and leaving some excess at the head and tail.
When the spine lining was dry, I trimmed the excess with a water pen, wrapped it around, and then attached it to the covers (PVA).
While preparing the case, I cleaned and relined the spine of the text block using methyl cellulose and Japanese tissue (paste), leaving a little excess at the shoulders to connect to the case. I also added head and tail bands and a linen spine lining, which was flush with the shoulder. The next step was to tone some Japanese tissue to match the end papers. I did this by mixing acrylics with Klucel G (to stop the Japanese tissue fibers from fraying).
To reattach the text block I needed to simulate opening with the joint intact. I placed the text block in position and raised the cover (with boards) so that the groove aligned with the shoulder of the text block, and applied weights to keep the book in position. Next, I pasted down the excess Japanese tissue from the spine lining. Then I measured out a piece of the toned tissue to be the height and width of the joint, overlapping onto the cover and text block, and attached it using paste. Using a dry brush, I gently tapped the toned tissue against the joint, to ensure it sticks properly. This must dry in position, so it is critical to keep the weights on at all times.
This is the end result:
After repeating on the other side, I repaired the bumped corners and toned the Japanese tissue on the covers.